Sometimes, when an artist has established themselves as a known entity with a cemented sound, they need an alternative outlet to release a new expression of truth. To experiment with a new genre or flavor of themselves, to become something anew. Though being a recognizable name is a feat worth praising, it can sometimes confine you to one-dimensionality. This is where aliases and secret identities come into play, where artists can approach music as fun again.
There are countless artists today who have followed that very outline, concealing themselves as songwriters or performers under an unfamiliar name in order to carry out a new form of self. It’s a different phenomenon than artists stepping out of anonymity, like how Fleetwood Mac served Stevie Nicks and how N.E.R.D served Pharrell Williams. It’s a purposeful step into the shadows in order to shine your brightest. There have been a few instances where this maneuver won big, lending to some massive hits you had no idea your favorite artist was behind.
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As the nepo-baby movement has proven, once people have decided on a narrative about you, it’s a hard thing to shatter. It can make experimenting hold much more weight, because if your pivot doesn’t work, it can damage your credibility. Some take that risk boldly and soar high, like André 3000 releasing an album consisting entirely of experimental flute music or Beyoncé dropping a country project. Others, however, feel safer behind a veil of anonymity. There’s less paralysis of expectation, more potential to soar past the association of their name.
For others, remaining anonymous gives the artist a chance to play. The late Mac Miller thrived on several aliases, with his most well-known being producer Larry Fisherman. Beyond releasing two solo instrumental projects under this guise, Miller also successfully produced tracks for artists like SZA, JID, and Earl Sweatshirt. Fully immersed in the idea of multiple identities, Miller shared with MTV a closer look at the Fisherman’s intricacies, stating: “Larry Fisherman, he’s the quiet type. He had a family that he used to provide for with fish. He was a professional fisherman, commercially. And then the sushi business really took off, and he wasn’t catching the right fish for sushi. So, he had to turn to making beats.” For Miller, it was all about being imaginative and, thus, boundless.
This also rings true for Cleo Sol, who, as a lead singer for the British experimental ensemble SAULT was able to wander through new corridors and make music that would have never made sense in her own catalog. Part of SAULT’s allure is just how inhibited they are, building a devout fan base dying to decipher their coding. Similarly, though Clairo has become the internet’s favorite pop princess, she always has more to say. Best friends with an affinity for bedroom pop, Shelly is a secret band she leads alongside Claud, Noa Getzug and Josh Mehling. Their first ever single, “Steeeam” garnered over 125 million streams on Spotify, a side quest bred from passion and a fleeting hobby to indulge in when time slows enough. Half of their magic is their unwillingness to take true form, which is what makes it such a successful venture.

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Enlisting a pseudonym isn’t always a lucrative side venture, nor does it necessarily have to be. Sometimes, it’s simply a pathway to satisfying an artistic itch they otherwise had no outlet to scratch. It isn’t about achievement; it’s only an outlet. However, on other occasions, magic can happen. Mac Miller’s secret jazz identity, Larry Lovestein, birthed the mesmerizing 5-track project, You. Sensual and aromatic, it charted at number 16 on the US Jazz charts, with many listeners completely unaware of the fact that they were listening to a Mac Miller album. There was no rap, no grandeur, only soft jazz and stories of love. “I do music. I’m more than just a rapper. So the jazz project was literally me, like, I need to do something else. I need to just switch it up,” he shared of the project.
Similarly, music under an unspoken name gave Donald Glover a chance to blossom anew. Though many may know him from his various acting ventures, ranging from Atlanta to Community to Mr. And Mrs. Smith, he becomes a new particular beast as Childish Gambino. Mastering every genre one can name, Childish Gambino Glover has won multiple Grammy Awards, including Record of the Year and Song of the Year for “This Is America” in 2019, and Best Traditional R&B Performance for “Redbone” in 2017.
Joe Jonas has been burned twice, once from his brother Nick Jonas calling quits on the Jonas Brothers and once from his subsequent solo music failing to chart. It wasn’t until 2015, when he faded into the dance-rock band DNCE that he was able to finally strike gold. DNCE’s debut single “Cake by the Ocean” was an inescapable tune, peaking at number nine on the Billboard Hot 100. The world had no idea they were making the Jonas Brother famous again, simply enthralled by the infectious tune.

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Finally, there’s no name more massive than Taylor Swift. Her ability to step out of bounds would be examined under a microscope, prompting her to move with a bit more stealth. Swift has written several tracks for other artists under the pseudonym Nils Sjöberg, though Rihanna and Calvin Harris’ “This Is What You Came For” is without a doubt the most successful feat. It reached number one in several countries, was certified triple-Platinum, surpassed 2 billion streams on Spotify, and became Rihanna’s 28th top-ten hit in the US. Swift also contributed uncredited backing vocals to the track. All in all, making art behind a guise is like coming home to the inner child who fell in love with music in the first place. There’s no bogging down of marketing and performance, only the infinite limitless of genuine expression. It’s important to apply that sentiment to every creative venture one may embark on, staying rooted in pleasure rather than imprisoned by expectation.